Columbia University film student Saim Sadiq's first full-length feature, Joyland, is set in his native Lehore, Paskistan, and tells the story of Haider, an unemployed young man (Ali Junejo) in an arranged marriage to Mumtaz, a dynamic beauty salon owner (Rasti Farooq).
Haider finds himself tending to his three growing nieces and his aging, fiercely paternalistic father (Salmaan Peerzada). Haider's brother, Saleem (Sameer Sohail), and sister-in-law, Nucchi (Sarwat Gilani) are pleasing to Abba (the father) because they are pregnant again and the doctor has predicted this time with a boy, a continuation of the family line. Haider and Mumtaz have yet to have children, which seems to be a mutual decision.
Sadiq presents all of this with wonderful economy and pathos; it is clear he has lived within those crowded walls and mulled over the traditions that appear to be stifling Haider and Mumtaz.
When Haider gets a lead from a neighbor friend, he follows it and discovers it is a job as a backup dancer in one of the exotic clubs, which features a transwoman performer, Biba (the transgender actress Alina Kahn).
Haider is not a dancer but is entranced by the mercurial Biba, which may or may not be a signal of his own sexual awakening. He works hard to learn the steps but lies to Mumtaz, who has stopped working to help run the household, and the others about the job, saying he is the theater manager and does not perform, as that would bring shame upon the family.
Shame and secrets are common themes in this fascinating film about religious tradition and human agency. Mumtaz's relationship with Nucchi is especially interesting, as they are two modern Pakistani women who still feel inhibited by society's expectations. Their only relief appears to be an occasional excursion to the amusement park, Joyland, where they work through their frustrations on carnival rides.
But the central relationship in the film is between the diffident Haider and Biba, whose fire lights a dormant spark in him that will either enliven or incinerate him.
Haider finds himself tending to his three growing nieces and his aging, fiercely paternalistic father (Salmaan Peerzada). Haider's brother, Saleem (Sameer Sohail), and sister-in-law, Nucchi (Sarwat Gilani) are pleasing to Abba (the father) because they are pregnant again and the doctor has predicted this time with a boy, a continuation of the family line. Haider and Mumtaz have yet to have children, which seems to be a mutual decision.
Sadiq presents all of this with wonderful economy and pathos; it is clear he has lived within those crowded walls and mulled over the traditions that appear to be stifling Haider and Mumtaz.
When Haider gets a lead from a neighbor friend, he follows it and discovers it is a job as a backup dancer in one of the exotic clubs, which features a transwoman performer, Biba (the transgender actress Alina Kahn).
Haider is not a dancer but is entranced by the mercurial Biba, which may or may not be a signal of his own sexual awakening. He works hard to learn the steps but lies to Mumtaz, who has stopped working to help run the household, and the others about the job, saying he is the theater manager and does not perform, as that would bring shame upon the family.
Shame and secrets are common themes in this fascinating film about religious tradition and human agency. Mumtaz's relationship with Nucchi is especially interesting, as they are two modern Pakistani women who still feel inhibited by society's expectations. Their only relief appears to be an occasional excursion to the amusement park, Joyland, where they work through their frustrations on carnival rides.
But the central relationship in the film is between the diffident Haider and Biba, whose fire lights a dormant spark in him that will either enliven or incinerate him.
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